You can buy it for just 5 euros at the Editions Jou website via this page on which you can also listen to an excerpt.
1928. Henri Ford embarks on intensive rubber mining. To clear a million hectares of forest, in the Amazon, on the banks of Rio Tapajós, to plant rubber trees, and to build a factory city, a utopian city, with school, hospital, dancing… The project was a real failure, Ford never exploited rubber.
2018. Florence Jou discovers the history of Fordlandia during an exhibition and round tables organized by the collective Suspended Spaces at the Colonie in Paris. She writes a poetic survey based on testimonies, anecdotes, observed gestures, readings… She proposes Dominique Leroy to co-create a sound piece.
We asked Didda to leave a trace in Saint-Nazaire, writing her poems on the massive buoys in the harbour. The recordings are part of the ongoing film project by Jean-Louis Vincendeau and Ollivier Moreels.
Find one of the poems here with an English translation and some images taken at the film shoot.
Við vorum ekki
og gengum með
sprengjur á öxlunum
og áttum að finna
We were not
of our parents eyes
not at the front
in the line
of favourite children
walking with bombs
on our shoulders
supposed to find
More to follow.
Performance and poems – Didda Jonsdottir
Concept and recording of the film – Ollivier Moreels and Jean-Louis Vincendeau
Images of the film shoot – Edith Doove
For the second residency in Saint-Nazaire Bureau Doove is happy to invite Dutch artist Jan Willem Maris. In his paintings, photo’s, constructions and installations, Maris investigates space, both in its private and public appearances. He questions how they operate emotionally.
Public squares with which he has a specific affinity, represent both freedom and security. It’s no coincidence that they play an important role in processes of change all over the world. These kinds of conflicting emotions are used in the series ‘Shelter’ for which he applied an intricately layered multidisciplinary process. The idea that from a shelter the outside world can be experienced as both threatening and luring while the shelter not necessarily is a perfect shield, stood at its base. Taking an existing square as a point of departure, Maris subsequently built a model in bamboo and coloured paper to be able to feel this space closer at hand. This construction was then used as a projection screen for videos with the footage of the effect of these projections being processed in the series of paintings.
Often space is thus defined through unlikely means, observations slightly out of centre. For instance by focussing on the electrical wiring in a room or other space. Likewise, the recent series ‘Spots’ defines space through the ephemeral presence and quality of light that penetrates through its boundaries, reflecting on and playing with other parts of the investigated space. In all cases an uncanny kind of tension is either observed or created.
During his first residency at Saint-Nazaire from 5 June Maris will explore its specific spaces and surroundings.
Wires 7, oil on canvas, 70 x 85 cm, 2017
Light Spots: The Black Paintings 01, oil on canvas, 50 x 70 cm, 2018
Light and Dark Spots no. 8, oil on canvas, 53 x 73 cm, 2019
Bright Light 10, The Black Paintings, oil on canvas, 43 x 60 cm, 2019
Evening Light Spots no. 11, The Black Paintings, oil on canvas, 90 x 120 cm, 2019
Living in times where the sound of birds is rapidly diminishing, we may see Rachel Mundy’s study on bird song, Animal Musicalities – Birds, Beasts, and Evolutionary Listening, to be more than timely. Far from being a simple field guide for recognising predominantly birds (the beasts from the title are hardly mentioned), this is in the first place an extremely rich publication on the evolution of the study of birdsong. What makes it so rich, and at times somewhat confusing, is that Mundy connects this study with various matters of difference and race. The bird is namely seen as “the other” and is put into connection with “the enduring evaluations of species, races and cultures”, including the treatment of women. Find my full review of the book here.
Is there solidarity between plants and humans, or are we just predators? Today, referring to climate change, in many cases, the dangers seem real and diffuse, paralyzing and abstract. However, we inflict abuse on those in our society who are more fragile, in a manner comparable to the abuse we cause to trees and other plants. In some humans, this sad experience fuels the desire to communicate with plants in their environment.
The performance Arboretum Recovery by Hantu (Weber+Delsaux) uses sprouted seeds to extend a part of their body. The artists evolve outward in direct contact with the surrounding plants and experience a physical and conscious proximity between that point of their body and the seed they are using.
This collective performance of Hantu accompanies an experimental work that consists in becoming a support for plant germination, for the cultivation of plants on the skin. This work considers the confrontation between the human organism, its ecosystem, its microbiota and plant organisms. Caring for seeds is, at the same time, taking care of ourselves, because our common destiny involves the future of the planet.
The performance Arboretum Recovery belongs to a series started in 2014, Hantu #5 Body and Tree, which echoes the ritual of revisited death of the trees of the Toraja Tomb (Sulawesi). Developed in very different contexts (France, Indonesia, Egypt…), this series evokes the links we have with plant species during our life and at the moment of our death.
Sunday 2 June
Workshop at 10am
Collective performance at 15pm
Rua Sacadura Cabral, 219
Gambao – Rio de Janeiro
Currer Bell College proposes Conversations, a series of propositions by Jean-Louis Vincendeau and Edith Doove in which we bring the work of two different artists, writers or other in conversation with each other. The work does not function as an illustration of the other, but through its often poetic confrontation seeks to discover new forms of knowledge.
Find Conversation#1 Bruno Dietsch – Guillaume Ertaud here.
Image Guillaume Ertaud
Alexandra Dementieva‘s work can be seen in two exhibitions in the upcoming days.
The touring exhibition CYFEST-12 will visit Venice on the occassion of the Venice Biennial. The ID. ART:TECH EXHIBITION is dedicated to the ID as a phenomenon with a wide scatter of meanings – from the term in psychoanalysis (id) to the document that certifies one’s identity (ID). The show is situated around what ID represents in the world of people and things, what new meanings come to life when they interact and what this leads to.
Alexandra Dementieva contributes with the video installation Twin Depths (2018). The video was recorded during the residence/ exhibition at Alexander Gallery, Roze, Montenegro.
Most of the Earth’s surface is covered with water. Water constitutes 60% of the human body and 80% of the brain. We all “emerged” from water, and this fact is stored in the depth of our genetic memory. In her media installation Twin Depths, Alexandra Dementieva invites us to become explorers and return with her to “our element” and, taking familiar objects with us, settle in the watery realm, forgetting about millions of years of the evolution of the human species. With the aid of live video from a camera installed in the sea, all the attempts to return under the water were recorded and displayed in real time.
From 10 May to 28 June 28 2019 in Ca’ Foscari Zattere Cultural Flow Zone.
Zattere, Dorsoduro 1392, Venice.
Boat stop: Zattere
Opening Night: 10 May at 6 PM
Mon–Fri 10am – 10pm; Sat 10am – 7pm; Sun 3 – 10pm
The white is not what it seems is a deeply personal take on the case of Julian Assange and the way the media deal with it. In a media installation a seemingly white cube in a white space triggers augmented reality projections.
From Tuesday 14 until Friday 31 May in
n0dine – Rue de Laekensestraat 105, 1000 Brussels
The exhibition can be visited by appointment
(email to email@example.com or call 02 513 41 04).
The work of Kristof Vrancken can currently be seen in two exhibitions.
The Waiting Room is this year’s title of the group exhibition of Vonk Ateliers at C-mine, Genk that was curated by Koen Leemans. Vrancken is showing the work that he made last summer with Atelier Luma in Arles in collaboration with ENSP (Ecole Superieure de Photographie Arles) and which was earlier shown in Korea.
In collaboration with the Algae Lab of Atelier Luma Vrancken developed a way to use the colour pigments of local algae to make photographic prints, and to materialize the landscape.
Algae not only provide the raw material for the colour pigments, but they also provide important information about the state of the water in which they live. They have a function as bio-indicators and react to climate change and potential sources of pollution, while invasive algae species tell the story of globalism. The resulting photographic series is a reflection on the landscape of the Camargues and the human influences that affect it.
From July 9 to July 12, the workshop “Algaetype: Materializing the landscapes of the Camargue through organic photography” took place in Arles and its region. Conceived by Atelier Luma and the National School of Photography (Arles) and supervised by experts Diane Trouillet, Kristof Vrancken (experimental photographer), Seppe Moons (photographer) and Yannick Vernet.
The workshop aimed at opening the doors of the Camargue through photography and science. The participants were invited to discover or rediscover the Camargue, along with its resources and the issues at stake in the territory, to capture the beauty of the landscapes and to introduce themselves to scientific experimentation and artistic innovation. Over the course of four days, they harvested algae, took pictures of their surroundings, produced paper and algae emulsions and developed photographs in the sunlight.
The workshop gathered people from various disciplines—biologists, photographers, historians, art students, curators, artists—providing a remarkable dimension to the project and enabling a precious collective intelligence to emerge.
To protect the fragile organic algaetype images against harmful influences of the present light, they are stored in acid-free, light-proof boxes. To view the images you may carefully open the box and close it afterwards.
Until 2 June 2019
C-mine 10, bus 1
Mon 1-5pm; Tue-Sun 10-5pm
The traveling group show Remembering Landscape visits Brussels after Siegen and Bucharest. The show and its publication highlight questions around what kind of landscape we desire and how this can be construed or portrayed? What is the role of art? How can art close the gap between a landscape past and present in a single image or series of pictures? Pictorial strategies are connected to aspects in memory, memorial and establishing the past.
The exhibition’s artists and groups of artists grant a voice to landscape. They create current landscape images located between fiction, symbol and documentation, and appeal to our ability to read and decipher them – but also to the imagination and our capacity to mourn.
With artists Marianna Christofides, Chloe Dewe Mathews, Lukas Einsele, Anne Heinlein and Göran Gnaudschun, Markus Karstieß, Thomas Kellner, Jan Kempenaers, Aglaia Konrad, Susanne Kriemann, Armin Linke, Andreas Mühe, Alexandra Navratil, Unknown Fields Division, Danny Veys and Kristof Vrancken.
Curators of the show are Dr. Eva Schmidt (Museum für Gegenwartskunst Siegen) and Prof. Dr. Kai Vöckler (HfG Offenbach)
Vrancken shows his series of work around the Genk landscape.
Until 9 June 2019
De Markten, Oude Graanmarkt 5, 1000 Brussel
A third exhibition, L’Heure Bleue, opens next week in Knokke-Zoute. This exhibition with alongside work by Vrancken, work by amongst others Nick Ervinck, Jan Fabre and Pipilotti Rist, talks about the magical moment of twilight when the sun seems to disappear and only the blue of the sky is visible. This moment when birds start to sing and flowers have a more intense odour, is seen as a moment of metamorphosis in which apparent contradictions disappear: day and night, life and death, lust and pain.
Until 28 July 2019
Kunstgalerij De Mijlpaal, Zeedijk 816 Knokke-Heist
Opening Sunday 19 May 2-6pm
Open Fri-Sun 2-6pm
Pierce the earth (Original French text below)
Performance performed by Hantu (Weber + Delsaux)
during the study day Voice and Silence in the Arts
University of Lorraine, Nancy
03 May 2019
The performance will be preceded by the workshop
“Voice, Breath, Atmospheric Body”
from 9 am to 12 pm with restitution at 3:45pm
Small weather report of the body: spring performance.
Hantu (weber + delsaux) likes to think that in changing seasons and in ancient sacred dances and songs, our bodies, sensitive to listening to invisible forces, exchange with plants, emitting and receiving sounds of multiple virtues. Vocalisations, according to certain ritual practices, helped women giving birth, singing treated the sick and protected the crops…
In the performance [give form] performed at the Academy of Fine Arts in St Petersburg (2018), the duo already played with movement as with sounds, which they pronounce, imprinted in the air.
For Hantu, the role of the artist is to reinvent tradition by questioning these phenomena and beliefs, developing artistic and subjective rituals. Attentive to the sensitive manifestations of the human body, the duo tackles every sound they discover, associating it with a quality of movement, like a common territory to travel, drawn by our memories and traditions, our fantasies and our ghosts of the past. In the sensitive and tangible space of our imagination, Pierce the earth is a song that questions the possible existence of an influence of the sounds and movements of the human body on the life of plants… and vice versa.
Pierce the earth… pierr… th… earr
pierr… the.. earr
Several distinct sounds of phonatory explosion blown, by pinching the lips first, clenching the teeth afterwards, with the tongue in abutment, striking the floor or palate and vibrating the veil of the palate at last.
Pierce the earth is proposed as a song of activation of particular properties (which, according to eurythmists, would promote the acceleration of the shoot, increase the volume and water retention capacity of the plants, the variation in the shape, colour and size of the leaves, the spacing between the leaves, the adaptation of the plant to unsuitable environments…).
Pierce the earth is also proposed as a song that would stimulate the energy of our own bodies, orienting, harmonizing our forces.
Hantu believes in rituals as much as in the power of metaphors.
Perce la terre
Performance réalisée par Hantu (Weber + Delsaux)
durant la journée d’étude Voix et silence dans les arts
Université de Lorraine, Nancy
03 mai 2019
La performance sera précédée du workshop
« la voix, le souffle, le corps atmosphérique »
organisé de 9h à 12h avec restitution à 15h45
Petit bulletin météorologique du corps : performance de printemps.
Hantu (weber+delsaux) se plaît à penser qu’aux changements de saisons et dans les danses et les chants sacrés anciens, nos corps, entités sensibles à l’écoute de forces invisibles, échangent avec les plantes, émettent et reçoivent des sons aux vertus multiples. Les vocalises, selon certaines pratiques rituelles, faisaient accoucher les femmes, les chants soignaient les malades et protégeaient les récoltes…
Dans la performance [donner form] réalisée à l’Académie des Beaux-Arts de St Pétersbourg (2018) déjà, notre duo avait joué avec le mouvement que les sons, que nous prononçons, impriment à l’air.
Pour Hantu, le rôle de l’artiste est de réinventer la tradition en interrogeant ces phénomènes et ces croyances, en élaborant des rituels artistiques et subjectifs. Attentif aux manifestations sensibles du corps humain, notre duo aborde chaque sonorité qu’il découvre, en l’associant à une qualité de mouvement, comme un territoire commun à parcourir, dessiné par nos mémoires et traditions, nos fantasmes et nos fantômes du passé. Dans l’espace sensible et tangible de notre imagination, Perce la terre est un chant qui interroge l’existence possible d’une influence des sons et des mouvements du corps humain sur la vie des plantes… et réciproquement.
Perce la terre… perrr…sla… terrr
Plusieurs sons distincts d’explosion phonatoire soufflés, en pinçant les lèvres d’abord, en serrant les dents ensuite, avec la langue en butée, en frappant le plancher ou le palais et en faisant vibrer le voile du palais enfin.
Perce la terre est proposé comme un chant d’activation de propriétés particulières (qui favoriseraient selon les eurythmistes, l’accélération de la pousse, l’augmentation du volume et de la capacité de rétention d’eau des végétaux, la variation des formes, des couleurs et de la taille des feuilles, de l’espacement entre les feuilles, l’adaptation de la plante à des milieux peu propices…).
Perce la terre est proposé également comme un chant qui stimulerait l’énergie de nos propres corps, en orientant, en harmonisant nos forces.
Hantu croit aux rituels autant qu’à la puissance des métaphores.
Today the unique Elbe Bees project by AnneMarie Maes was officially opened in Hamburg. After a ‘walk-in procession’ by a bee swarm this will live for 14 months in the beehive installed up the pillars in the port of Hamburg, close to a wild nature domain at Entenwerder 1.
A digitally fabricated living sculpture is standing on top of 6m high pillars in the port of Hamburg. A similar sculpture is positioned on a rooftop in Brussels. Both sculptures host honeybee colonies and will be in communication with each other. The hives are nodes in a network of digitally enhanced Guerrilla Beehives. Cameras and sensors monitor the wellbeing and development of the honeybee colonies. In return, the bees give us information about the health of local ecosystems, related to their foraging fields.
No honey will be harvested, but the bees use it for their own surviving. Nonetheless the beehive is under human and technological control. The sculpture is enhanced with a digital surveillance system in order to enable the further research of the artist concerning the disappearing of the honeybees.
The Hamburg beehive is located on pile moorings beside the pontoon for the Golden Pavilion in Entenwerder. A beekeeper frequently checks the situation at the site. It is observable in free space for a whole bee season during the opening times of the public café. Video-, audio, and climate recordings as well as background material are exhibited in the Golden Pavilion.
The project ElbBienen / Elbe Bees is part of the Hamburg Machine, the Art in Public Space program of the Stadtkuratorin Hamburg.
Until 30 june 2019
Entweder 1, 20539 Hamburg
Opening hours 10 am-8 pm